대만 모더니즘시 운동과 성취에 대한 재조명

Abstract

이 글에서는 문학 외적인 조건에 의해 아쉽게도 더 이상의 창작과 이론을 진행시키지 못했던 중국과 달리, 50년대부터 70년대까지 臺灣대만을 뜨겁게 달구었던 모더니즘시 운동을 살펴보고자 한다. 이 작업은 시의 나라란 자부심에 기초한 중국의 전통성이 서구 모더니즘과 만났을 때 어떠한 새로운 시가 가능한지에 대한 질문이기도 하다. 이러한 가능성을 감안한다면, 과연 대만 모더니즘시는 어떠한 예술적 특징과 성취를 가지고 있는지 좀 더 세밀하게 고찰해볼 필요가 있겠다. 이러한 문제를 살펴보기 위해, 이 글에서는 대만 모더니즘시 운동을 주도적으로 전개한 3대 詩社시사가 무엇인지 알아보고 4차례의 논쟁이 어떻게 진행되었는지 분석하고자 한다. 아울러 3대 시사의 주장과 논쟁을 이론적 준거로 한 대만 모더니즘 시인들의 대표작을 구체적으로 분석하여, 그들 시 속에서 구현되고 있는 예술적 특징과 성취가 무엇인지 살펴볼 것이다.

In the study of Taiwanese Modernist Poetry Movement from the early 1950s to the mid-1970s, many literary critics have agreed that Taiwanese Modernist poets have their various thoughts on poetics and are brought into a poem full of experimental image and metaphor, with sandwiching in between Chinese traditional culture and Western Modernist literature. The purpose of this study is to illustrate the aesthetic characteristics of Taiwanese Modernist poetry, especially focusing on such binaries as “tradition and modernity,” “Chineseness and the West,” “vertical inheritance 縱的繼承 and horizontal transplantation 橫的移植.” This study contains four parts, together with introduction and conclusion. Part Two explores three poetry schools such as “Modern Poetry 現代詩,” “Blue Star 藍星,” “Genesis 創世記” and analyses their four rounds of debates on questions such as What is good poetry? Where is new poetry going? Should poetry be easily understandable or not? What is the poetry’s relationship with society? and What is the poetic balance between Chinese cultural tradition and Western Modernism literature? The debates began in the 1950s and went through the 1960s and early 1970s. Part Three examines each individual poet of Taiwanese Modernist Poetry Movement and revaluates his or her distinctive aesthetic qualities within representative poem. The poetics and the style of every Taiwan’s modern poet are different, This appears in such poems as Yu Guangzhong‘s 余光中(1928-2017) “Lamenting for Keats-A Eulogy Commemorating the One Hundred and Thirty-Second Anniversary of Keats’s Death 吊濟慈—濟慈逝世百卅二年紀念,” Lin Ling’s 林泠(1938- ) “Tree-Shaded Path 林蔭道,” Ji Xian’s 纪弦(1913-2013) “Solitary Wolf 狼之獨步,” Ya Xian’s 瘂弦(1932- ) “Songlike Andante 如歌的行板..” Part Four concludes that Taiwanese Modernist Poets opens new direction to realize their potential between the trend of Westernization and the awakening of national consciousness, with citing Yang Mu’s 楊牧(1940- ) “Your Feeling 你的心情.”